George Benson: Livin' Inside Your Love CD Track Listing

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George Benson Livin' Inside Your Love (1977)
Originally Released February 1, 1977\nCD Edition Released March 1989\n\nAMG EXPERT REVIEW: The success of Weekend in L.A. no doubt prompted producer Tommy LiPuma and Warner Bros. to give Benson another double album (now on one CD) - and this, like its three Warners predecessors, also went Top Ten. It is also, alas, slicker, more romantic in mood and more bound by perceptions of formula than the others, fussed over in three different studios in earnest search of another hit single (the dance-tempo cover of L.T.D.'s "Love Ballad"). Most of the touring band, including Ronnie Foster, Ralph MacDonald and Phil Upchurch, is back, and Claus Ogerman's soft symphonic touch provides most of the backdrops, with Mike Mainieri supplying the orchestra on three tracks. Even at this point, the great guitarist is still given much room to burn - the balance between instrumentals and vocals remains close - and George comes up with some tasty stuff when the rhythm section pushes him on "Nassau Day" and "You're Never Too Far From Me." Ultimately there is just enough jazz content amidst the velvet soul to keep guitar buffs interested. -- Richard S. Ginell\n\nAmazon.com Customer Review\nSunny, warm, soulful, brilliant, and often astonishing!, August 22, 2002\nReviewer: "songlife" (Dayton, OH) \nThis album bedazzled me out for many years, when I was first discovering the talent of George Benson and the brilliance of his music. These days, having heard all the songs literally hundreds of times and knowing every single note by heart, I don't listen to it much anymore, except to put it on sometimes for a jolt of "Nassau Day". That's not to say it doesn't have lasting power - it truly does. It's absolutely fantastic. But when I hear an album so much, I eventually start to hear some annoyances in it, after the freshness has worn off. For example, the drums, played by Steve Gadd, were poorly recorded, and they sound very overdubbed. Gadd has no room to display his abilities at all; it really sounds like they brought him in one day and asked him to overdub the drums. He doesn't even sound like part of the group and he plays stiffly. \n\nThe other overdubbing problem, sometimes, is the strings. This was part of producer Tommy LiPuma's grand plan for Benson's career from the start, to add strings to 75% of the songs on his albums, in order to ingratiate him into the pop/jazz society. The idea being, if pleasant-sounding strings introduce each song and pop in occasionally throughout, maybe people won't think of it as 'jazz', it'll be 'easy listening'. Well, it worked. But unfortunately, it's also the reason why we always hear this music in grocery stores and elevators - just like with Wes Montgomery's so-called pop albums. And the strings will instantly alienate any hard-core jazzer that hears them, which is unfortunate because this album has great rewards for those who can get over its pop concessions. The strings are unnecessary, but they don't spoil the music. Fortunately, they're well written, and they do provide a short, pleasant introduction to some songs (not all, thankfully). It's a very happy album, in the same way that "Breezin" was.\n\nThe standout track is the Caribbean-flavored instrumental "Nassau Day". Written by Ronnie Foster, who also plays on it, this track has what might be GB's most amazing solo on record. His jawdropping creativity and stunning technique shine all over his solo. He was ON that day! I'll tell you a secret though: Ronnie did his own version of the song, on his own album called "Love Satellite", and it's even better than George's!\n\nThe rest of the album is great too - not one dud on what was originally a two-record set. GB wrote some catchy and highly sophisticated melodies including "Before You Go" and "You're Never Too Far From Me". His solos on those are stuff scientists should study. Vocal-wise, all are good, with highlights including his passionate, heartfelt scat solos on "Love Is A Hurting Thing" and "Love Ballad"; great renditions of Carole King's "Hey Girl" and Sam Cooke's "A Change Is Gonna Come", and his own "Welcome Into My World", which is one of the few examples of GB's own lyrics. About half this album is pure soul, singing in the style of Stevie Wonder, and doing a great job of it. Stevie has said he greatly admires George's singing, and in fact you can hear him singing on Stevie's song "Another Star". \n\nAdding to the happy, positive vibe of the album are the frequent, thoughful rhodes/piano solos of Foster and Jorge Dalto. Those two were stars in their own right; both made many excellent solo albums that I recommend you seek out. I've managed to find most of them on import CD, but a few (like "Love Satellite") haven't made it to CD yet. Percussionist extraordinaire Ralph MacDonald, who is on this album too, has also made many outstanding albums, his best being "Surprize" (also not on CD). \n\nTo sum up, this is one of George's best albums (probably his best Warner album, although all his 70's output is great), and his guitar playing and vocals are possibly the best he ever did. I realize some people prefer his early jazz albums, but frankly, his top-notch guitar playing on this album would be hard to find a match for even by GB himself. He's superhuman. He has a master's ability to play solos - he organizes them perfectly, meticulously building sophisticated line after line, adding in big clusters of notes, trilling effects, octaves and other combinations, anything he can think of to energize the song - all totally clean, without any effects or pedals or distortion like so many others use who don't even have 1% of the talent he does. Benson never needed that stuff; his mind and fingers are all he relies on.\n\nI give the album 5 stars EVEN THOUGH the production and engineering are below average (and the leisure suit is annoying), because George's genius and talent burst right through the minor problems and really shine. 'Shine' is a good word because when I think of this album, I think of a sunny summer's day. People who get hung up on the sometimes condescending nature of the production are really missing out, because whether listened to closely and intently or as background music, this album really rewards, and above all it will make you feel good. For some unknown reason, hardly any of these songs (except a couple hits) are ever included on George's many anthologies, so it's definitely one to buy. This CD is a prime candidate for a new reissue. They need to go back to the original tapes, fix the drum problems, spiff up the sound, maybe even make it a 2 CD set by adding some alternate takes, if they can find any. They've been ignoring this one for years - maybe because they see George's disco suit, and think "dated, won't sell". Well, it won't sell much because the public at large doesn't like good music, I admit that, but they've done it for other albums, why not this one? And it's not dated - aside from a moog here and there.\n\nAmazon.com Customer Review\nIf you like Benson, this is a classic, October 6, 1999\nReviewer: A music fan\nThis was originally released as a two album set. This is the last of what I consider the "old" Benson, much in the genre of "Breezin'". Especially notable is his rendition of "Unchained Melody". Although I do enjoy his forays into more of a popular music style, this is among his best efforts. A must have for any serious jazz collection.\n\nHalf.com Album Credits\nEarl Klugh, Contributing Artist\nJorge Dalto, Contributing Artist\nMike Mainieri, Contributing Artist\nPhil Upchurch, Contributing Artist\nRalph MacDonald, Contributing Artist\nRonnie Foster, Contributing Artist\nAl Schmitt, Engineer\nTommy LiPuma, Producer\n\nAlbum Notes\nPersonnel: George Benson (vocals, guitar); Mike Mainieri (vibraphone); Ronnie Foster, Greg Phillinganes, Jorge Dalto (keyboards); Earl Klugh, Phil Upchurch (guitar); Will Lee, Stanley Banks, Robert Popwell, Jr. (bass); Steve Gadd (drums); Ralph MacDonald (percussion).\n\nGeorge Benson plays the guitar so well that jazz fans find evidence that he still cares even amidst the most disposable string- and synth-laden offerings. Case in point: while Benson would just as soon lay down his axe altogether to croon Goffin and King's "Hey Girl" on LIVIN' INSIDE YOUR LOVE, on the next cut, keyboardist Ronnie Foster's "Nassau Day," he turns around and plays with the same great tone, articulation, timing and flow of ideas he's always demonstrated.\n\nAnd why should the guy live on what the average jazzman makes if they'll pay him to surround himself with strings and keep the tunes simple? Twenty years ago, fans of Benson's tough, muscular synthesis of bop, blues and post-bop ideas screamed "sellout" over his success with "On Broadway" and "This Masquerade." Today we know better, because we have another name for it--smooth jazz.
This jazz cd contains 12 tracks and runs 66min 46sec.
Freedb: a60fa40c

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